Keeping you abreast of key discoveries, events, and operations surrounding the thrilling, mildew-riddled world of the burgeoning thrift store record trade.
For the past few weeks, not only has the thrift store record department once again become a virtual wasteland, littered with a stagnant collection of deteriorating boxes, jam-packed with moldy LPs only a dumpster could love, but my timing has been frustratingly out of sync, as well. I always seem to arrive on the scene just in time to witness someone clearing out with the few worthwhile new records that may have actually trickled in. And so it went once again today. But this time, as I was left in the dust to watch another more fortunate record hunter waltz off with his well-timed finds, something surprising happened.
Black Sabbath - Paranoid EP Limited edition UK release on clear vinyl
With the temperature outside hitting 100˚F, I wasn't in a big rush to leave the air conditioned store only two minutes after arriving by bicycle. So, just to appear busy and not simply be standing around feeling awkward while soaking up the chilled air, I turned to a bin of familiar records I have already examined a few times in the recent past, ran a hand along the top, and picked a spot near the middle of the row to start flipping. I didn't expect to actually find anything good, but when the records were parted, a surprising sight was revealed. A clear vinyl record? Now, that surely wasn't here before and definitely warrants a closer look. Figuring it would probably be a soundtrack for a Broadway musical or one of the many (and ever-present) 101 Strings LPs that had gotten separated from its jacket, I coolly lifted it up to examine the label and ... whoah, it's a Black Sabbath record! One of my very favorite bands! And I never even heard of this particular release before! Spurred on by the miraculous discovery, I quickly rifled through the rest of that bin in search of a cover for it, but found none. I started thinking, since it was an EP/single release, that maybe it originally only came with a generic, white, die-cut, promo type of jacket with a sticker on it or something, so I didn't look too thoroughly in the other bins and boxes and was suddenly struck by an urge to just slip away with my prize. Casting paranoid glances all around and clutching the precious to our chest, we hastily skulked off to the checkout counter, and out into the hot, glaring sunlight that burns and hurts our poor eyes.
Black Sabbath - Paranoid EP 1982 Nems 12NEX01
After returning to headquarters and pulling up all relevant data on the item, I found it definitely did have a very cool cover at one time. This now called for an all-out search and rescue mission. At the next possible opportunity, I returned to the store, and after completing an exhaustive search of the estimated 1,500 or so LPs there, I was able to determine the following:
1. The Black Sabbath cover definitely was not present.
2. You would have to pay me to take any of those terrible records.
3. I really needed to wash my hands.
Despite the missing cover and the fact that three of the most familiar and overplayed songs in the Black Sabbath discography make up the bulk of the material here, I still consider this to be a triumphant thrift store record find and a very welcome and important edition to the TSRR Archives' Black Sabbath section.
In my experience, the live bootleg is one of the rarer varieties of thrift store records. But happily, the couple I have managed to find were by favorite artists of mine. I'm a big Neil Young fan and have been really enjoying the string of classic live recordings released in recent years (The Neil Young Archives Performance Series). Of the three I've heard, I think Live at Massey Hall 1971 is my favorite. Comparatively shoddy sound quality aside, this unofficial "Young Man's Fancy" live LP is similar in several ways to that recently released Massey Hall 1971 recording.
Label from unofficial 1971 Neil Young live LP:
Young Man's Fancy/Live on Sugar Mountain
Very little information was included with this record. The only writing to be found was on the title page insert posted above. By utilizing powerful, modern investigational techniques (ie Google search) and noting Young's own between-song banter, however, we can piece together the basic facts: It was an audience recording, made on Feb. 1, 1971 at the Los Angeles Music Center's Dorothy Chandler Pavilion. This means it took place just ten days after the Massey Hall performance/recording, and the set list and performance is similar (and similarly great!). It was the last night of his early 1971 solo tour. Before playing Sugar Mountain (which is the only song on this LP not found on the Massey Hall release), Neil says: "...tonight's the night when the tour ends for me..." (then it sounds like he makes a sad little sniffle and everyone laughs). He goes on to say: "this is my twenty fourth show since January fifth."
Label from unofficial 1971 Neil Young live LP:
Young Man's Fancy/Live on Sugar Mountain
This recording must have been an extra exciting find back when it first showed up (reportedly, only weeks after the show), as it contains several songs that had not yet been released. It would be another year (Feb. '72) before future classics Heart of Gold, A Man Needs a Maid, The Needle and the Damage Done, and Old Man would be available on the HarvestLP. Journey Through the Past and Love in Mind didn't come out until October, 1973, on the Time Fades Away live album. See the Sky About to Rain would not get an official release until 1974's On the Beach.
I mainly read about two versions of this recording that have been circulating on vinyl: A two record set containing 15 songs, which has been called "Young Man's Fancy," or alternatively: "I'm Happy That Y'all Came Down." There is also a single LP version with 10 songs, called "Live on Sugar Mountain." The one I own seems to be a hybrid of the two. It has 13 songs on a single disc, with both the Young Man's Fancy, as well as Live on Sugar Mountain titles printed on the insert.
My copy has a small warp that causes a rhythmic whooshing sound during the first song; there are scratches that occasionally add a steady ticking; the needle sticks in one spot; and there is a light & zesty crackle throughout, but it is still a pleasure to hear this performance. The extraneous noises aren't actually too distracting (except when the needle sticks) and, in a way, they even sort of add to the sparse, (mostly) mournful atmosphere created by Young's heartfelt vocals and lone guitar (or piano) accompaniment.
Click here to listen to a YouTube clip of Don't Let It Bring You Down
Am I the only one who finds it odd that in 35 years,
no one ever removed that giant vinyl decal?
The thrift store can be a good place to buy turntables as well as records. You might have to be patient and keep checking, but it's not unusual to find a nice, vintage workhorse capable of outperforming many of the new turntables available today, and for a fraction of the cost.
I once found a beautifully kept Technics SL-D2 that barely needed so much as a light dusting. But most of the time there has been at least one or two things wrong with the thrift store turntables I have encountered. This Technics SL-1300, which I recently picked up, was missing the headshell/cartridge/stylus assembly, and while the sticker on the dust cover states that it has been tested and the "turntable spins," I could see by the wildly fluctuating strobe pattern, when I tried it out in the store, that the sound was going to be wobbly, to say the least. But for the low, low price of only $3.00, it didn't take long for me to decide to grab it. I reasoned that if it couldn't easily be fixed, it was still well worth buying just for the platter mat alone.
Symptoms
The video at right demonstrates the erratic strobe pattern and sound. The speed adjustment controls were extremely touchy. I only had to lightly tap them to make the platter spazz out even worse. There was no way you could stabilize the speed, and the turntable was unusable in this condition—unless you wanted to play background music in a funhouse. Watch the bottom row of dots. Those are the ones that should be appearing stationary.
Diagnosis
What can happen is, the components that allow you to control the speed get dust and crud gunking up their internal contacts, causing them to work erratically. It's the same thing that causes crackly, touchy, volume controls. Eventually, the potentiometers ("pots") and switches need to be cleaned with a good electronic parts cleaning fluid. Often, this is all that is necessary to get things working properly again. I was able to fix this problem without buying or installing anything. The only tools needed were basic Phillips-head and flat-head screwdrivers.
Solution
CRC QD Electronic Cleaner
There are several brands of cleaning fluids available that should do the trick. DeoxIT® by Caig Laboratories has a very good reputation, and is pretty much universally endorsed. I already had this can of CRC QD Electronic Cleaner hanging around, so that is what I used. Make sure whatever you use, that the label states it is safe on plastics. I should mention that a lubricant is recommended (if not essential) when/after cleaning potentiometers to keep them operating smoothly and to protect against premature wear. DeoxIT® already has a lubricant mixed with the cleaner. The CRC is a very effective cleaner, but contains no lubricant. Now that this turntable is spinning properly again, I plan to replace its audio cables. At that time, I'll probably go ahead and lubricate the pots I just cleaned.
CAUTION: Always be sure the power plug of any electrical device is disconnected from power source before working inside device. Always follow standard safety guidelines for working with electrical devices. We at Thrift Store Record Report are not responsible for any damage to persons or property that may arise as a result of unqualified service personnel attempting turntable repairs after viewing the materials posted to this site.
Disassembly
Tonearm locked and platter removed
Before turning the unit over, lock down the tonearm, remove the mat, and carefully remove the platter. Some turntables may have screws on the platter, or a retaining ring or clip of some sort around the spindle that will need to be removed first. With this Technics, and many of the other turntables I have encountered, you only need to lift the platter. It might be a little stuck at first. You can lock your thumbs in the holes and push downward with your fingers on the base if you need a little extra leverage. Try to pull up with equal pressure on each side. You have to be especially careful not to damage the magnet assembly attached to the underside of the platter on these direct-drive turntables.
Inside view of Technics SL-1300 turntable The main speed pots and speed selector switch are in the upper-left corner
I left the dust cover on and flipped the unit upside down on a large, folded bath towel. I know this leaves a chance of cracking the dust cover, but I've not broken one yet, and it is easier for me this way, so I continue to take my chances. If you rig something up to support it without the dustcover, just make sure it is stable enough and that nothing can touch the tonearm assembly. Next, I removed the screws from the base. The feet did not need to come off, as on some turntables. There were two screw lengths. The shorter ones went around the perimeter; the longer ones closer to the middle. I pulled all the screws out (a magnetic tip screwdriver comes in handy here) and put them aside where they wouldn't get lost. Some people like to only loosen them, so they lift out with the base, still sitting in their respective holes.
Getting Down to Business
The primary targets are the main speed/pitch adjustment pots. I cleaned only those at first, then did a quick test, and found that the speed looked greatly stabilized just from those parts getting cleaned. However, to be thorough, I went ahead and cleaned the speed selector switch and the more hidden set of speed control trimpots. I also oiled the motor shaft while I was at it.
The video above illustrates, step-by-step, all of the work that was done, and is a live-motion companion to this written article. It even has a pretty snappy soundtrack—so check it out!
The main speed control potentiometers
Spray the cleaner in any openings you find in the components. The pots should have sizable openings where the three connection tabs are attached, as well as another small one around the outside of the case. After spraying fluid inside the housing, the pot shafts need to be fully rotated back and forth many times, then repeat the spray/rotation procedure at least once or twice more.
Spraying speed selector switch
Next, I cleaned the speed selector switch by spraying into the cracks where the plastic plunger piece comes out of the housing, and in some adjacent slots, as well. The switch should then also be worked back and forth several times and sprayed again. This fluid dries very quickly and doesn't seem to harm anything it gets on, so I don't usually worry too much about over-spray, but you can always surround the parts you're spraying with a rag or paper towel to catch the excess.
To get at the second, less accessible set of speed controls, the circuit board located next to the main speed pots must be removed. It was only a matter of taking out three Phillips-head screws and then lifting the board straight up while wiggling it a little bit to free its connecting pins from the holes they mate with on the motor board.
Variable resistors 1 & 2 aka VR1 & VR2
Once the circuit board is unscrewed and flipped over, it's an easy job cleaning these parts, as they are not sealed in housings and their track and wiper contacts are more exposed. Spray, fully rotate shaft back and forth, and repeat the cycle, just like with the first pots. After everything is reassembled, these trimpots will need to be adjusted first, to give the topside speed controls the range necessary to get the platter rotating at the right speed.
Oiling motor shaft on Technics SL-1300
As long as the platter was off, I figured it was a good idea to also oil the motor shaft—especially since this is something else that can affect the speed. Technics recommends doing this after every 2,000 hours of service. Since I bought this turntable used, several decades after it was made (and while it's in pretty good shape, it doesn't exactly look like it's been babied), I think it is probably overdue by now. The owner's manual and the sticker on the platter insist you use only the specially formulated Technics oil, but I doubt it is necessary. I would certainly use it if I had some, but since I don't, I'm inclined to just make-do with an acceptable substitute when working on a broken-down, three dollar turntable. I think a good light oil, such as sewing machine oil is fine for this task. If you would like to get the official Technics oil, you can find some available for purchase at the Kab Electro Acoustics website. I used something called Lubit-8. I like the precision needlepoint applicator and the fact that it is supposed to be compatible with all oils and greases, so it should mix well with any other oil that has been applied in the past. No matter what kind you use, you are only supposed to apply two to three drops.
These are basically "set and forget" trimpots
I didn't note the positions of VR1 & 2 before commencing to vigorously rotate them, so I reset them to the midway/twelve o'clock position. After trying out the turntable, I found they needed to be moved to the one o'clock position. VR1 and VR2 must be set correctly before the topside controls will have the range needed to get the platter spinning at the right speed.
Results
The video below shows how the turntable is running very smoothly now.
A nice Technics turntable database can be found at Vintage Technics
A great library of free turntable user manuals, service manuals, schematics, brochures, and technical documents is located at Vinylengine
There I was, on a bright and sunny Sunday afternoon, performing routine record cleaning duties (when I probably should have been outside playing stickball or frolicking with a puppy or something), and as I get to work on the final disc, I start to think: tee-hee I like that funny parrot on this label. Then I realize that none of the records I picked out to clean were on the Parrot Records label ... in fact, I don't think I've ever owned a record on the Parrot label...
Continuing to spread the cleaning solution, I start scanning the text on the label... Egads man, you're cleaning an Engelbert Humperdinck album!
This can only mean that a wanted record which I thought I bought has been displaced by this perennial thrift bin dweller that is of no use to me. Quickly suppressing the sinking feeling that begins to take hold, I remain calm, and like a mindless automaton, finish cleaning it—though it left me feeling somewhat like the hapless sparrow caring for a cuckoo bird's egg, covertly deposited in its nest.
The Investigation:
After looking through the stack of covers that were in the other room, I found that the interloper had been concealed inside this Bee Gees jacket.
Bee Gees - Peace of Mind
"Circa '64 Australian Sessions"
1978 Pickwick Records BAN-90041
Taking a closer look, I now notice some clues, which, had I been more alert during my pre-purchase inspection, may have raised a red flag or two...
Sure, in hindsight, it might be obvious what is going on here, but if you only give it a cursory glance (as one is apt to do in the heat of a fast-paced thrift-binge), it just sort of looks like a former owner has signed their name on the front cover, as people often do (sigh). And even if I had read the name, well, there must be thousands of Engelberts out there who own Bee Gees records, right? And the scribble marks could have simply been a testament to this Engelbert's changing tastes and was a way of expressing his newfound dislike of the Bee Gees.
Take Heed:
Lame excuses for my own carelessness aside, I write these words now, as a simple cautionary tale to remind you all (and myself), to be ever vigilant in checking the labels on those thrift store records to make sure the covers and discs definitely match up. Usually, it is the records with missing inner sleeves you really have to watch out for, but this disc had been stowed away inside a good condition inner sleeve that was placed neatly inside of the jacket; lulling me into a false sense of security, and I got sloppy. Don't let this happen to you.
It Gets Worse:
After I started on this article, I remembered there was another, similar LP of early Bee Gees material sitting on the shelf that probably came from the same lot. I go have a look at it to find...
Suspicion confirmed: a second defaced Bee Gees cover, complete with Engelbert Humperdinck stowaway.
Now that's just pure evil! What kind of maniac repeatedly does something like this to protect scuffed-up Engelbert Humperdinck vinyl? I wonder if the Bee Gees LPs were taken out and discarded just to make room for the E.H. discs? I realize the Bee Gees are no strangers to the thrift bins, and not everone's cup of tea either, but in my book, they deserve better than this. What next, using Jethro Tull covers to store your precious, scratchy, Sing Along with Mitch LPs?
I still like that funny parrot, anyway. I only wish it was attached to something in the Parrot discography I might have liked better, such as The Zombies or Them.
1. My Friend Jack (3:04) 2. Waterfall (2:37) 3. You Can't Catch Me (3:13) 4. High In A Room (2:56) 5. Wake Up Cherylina (2:15) 6. Don't Lead Me On (2:12)
Side 2
1. We Can Take It (2:40) 2. If The Weather's Sunny (2:50) 3. I Wanna Make It With You (3:04) 4. It's Getting Closer (2:37) 5. It's Just Your Way Of Loving (2:23) 6. I Would If I Could But I Can't (2:10)
I know April is not quite over yet, but I'm going to go ahead and declare this record the official Thrift Store Record Report Find of the Month.
Let me tell you, it has been a very slow month down at the thrift mines. Day after day of picking at the same stagnating (but always reshuffled) crates of junk LPs had taken its toll on me. I was losing faith in the system and began growing paranoid. The large as life, grimacing cover shots of Manilow and Streisand were mocking me. Tormented by thoughts of an inside man intercepting the good stuff before it could hit the floor, or of one of the local record dealers being tipped off about new arrivals, it was high time I take action to counter these threats to the supply chain ... yes, I'm sure they are all working against me now, and something needs to be done about it... but then, finally, before I had a chance to do anything drastic that could've ultimately caused the thrift store workers to speak of me in hushed tones (and possibly giggle) whenever I showed up, I caught a lucky break that ended the maddening dry spell...
Immediately upon entering the store, cat-like senses on high alert, I detected a grocery bag full of records someone had just dropped off near the checkout counter. Now, being the first to root through an untouched, freshly donated batch of records is always an exciting prospect, full of wondrous possibilities, but when a bunch of Statler Brothers, a Kenny Rogers, and a battered John Philip Souza record were the first to come out, the excitement began to wane. Then, amazingly, this rather obscure, garage-psych-pop gem by The Smoke revealed itself—and in excellent condition! Although, appropriately enough, it does reek badly of (cigarette) smoke residue. Some other decent finds were LPs by Gary Puckett and the Union Gap, The Ventures, a 1958 Elvis compilation, and a couple other interesting, oddball records that will be the subject of their own reports at a later date. It turned out to be a very strange mix of records in that bag.
I had previously heard just two songs by this band: High in a Room, and My Friend Jack, but after reading an article on them in the March issue of Record Collector magazine a couple weeks ago, I started thinking about them again and wanted to hear more, so it was perfect timing finding this right now.
The record has a Gull label, but note the Intercord catalog number. The back of the cover states: (c)(p)1966 Morgan Music Productions Manufactured by Intercord Ton GmbH from master recordings owned or controlled by Gull Records
It is a German release from 1976, put out by Intercord Records, as part of their "Star Power" series of reissues and compilations. It has the same track listing as the band's first and only long player: ...It's Smoke Time (1967), which was a German-only pressing that wasn't distributed in the UK until the Gull label reissued it with a different cover in 1975.
Though hailing from Yorkshire, England, the band was most successful on the European mainland. My Friend Jack, their biggest single, reached the top 50, but stalled at number 45 in the UK charts. This was likely due, in no small part, to the lyrics about how friend Jack "eats sugar lumps" and "travels everywhere." These references to LSD earned the song some bad press and it was banned from BBC airwaves in the UK before it had a chance to ride the charts for very long. The single became a chart-topping hit in places like Germany, France, and Switzerland—securing the band an appearance alongside The Jimi Hendrix Experience and The Who on Germany's Beat-Club TV show, as well as a tour with The Beach Boys and The Small Faces.
I believe High in a Room and My Friend Jack are often considered to be the best songs by The Smoke, and they are indeed good ones, but my new favorites are: Waterfall, which is a beautifully dreamy, melancholy ballad that reminds me of something Peter & Gordon might have recorded, and Wake Up Cherylina, another slower, less acid-tinged, pop ballad. Both songs have more of a timeless quality about them than some of their others, and I don't think it would really be a stretch if they were mentioned in the same breath as songs by The Zombies or The Beatles.
Click here to see The Smoke perform My Friend Jack on Beat-Club
So, apart from sniffing their jackets like wine corks, exactly how does a discriminating connoisseur of fine music, such as myself, determine which thrift store classical records are worthy of my hard-earned pocket change? Simple... I grab the ones with really neat-o covers, of course! Seriously, the groovy, psychedelic artwork is mainly why I bought this particular classical LP, and its cover will be the primary focus of the following report.
I didn't yet own any Schubert records and had actually just started thinking how I'd like one when I spotted this LP. However, if not for the far-out cover I may have passed on it because I generally prefer solo piano, guitar, or violin pieces to symphonies, and I was really hoping to find some of his piano works. I'm glad I did pick it up or I might never have learned the interesting stories behind the Nonesuch record label, the cover art (and the artist who created it), or the unexpected connection to a birthday gift I received in the early '80s and still have stowed away in a trunk...
I'm not sure when this LP was released, but the original owner
wrote on the inner sleeve that it was purchased Dec. 21, 1975.
Nonesuch Records was created in 1964 by Jac Holzman, who also founded Elektra Records fourteen years earlier. The initial idea behind Nonesuch was to release high quality, but low priced classical music. Holzman, recalling his student days, and how frustrated he always felt at having to pick just one of the much desired LPs he'd find at the record shop, wanted to make Nonesuch's releases available for about the price of a high quality paperback book—which was $2.50 in 1963-64. At the time, classical records were typically priced at twice that amount. Another part of the plan was to package the "unusual, baroque-oriented" selections he was licensing from European labels, with cover art and liner notes that would appeal to a younger generation of listeners. Sales income from the first year of Nonesuch releases turned out to be substantial enough to help fund the pop side of Elektra; allowing Holzman to sign now legendary bands such as The Doors and Love to that label. In 1967 Nonesuch launched their groundbreaking Explorer Series—which provided the first exposure many listeners would have to authentic, traditional music of other cultures. Holzman sold Nonesuch to Warner Communications in 1970 and the label continued to release an impressive and diverse range of music from jazz, to world music, to alternative and pop. Recent Nonesuch releases include recordings by Joni Mitchell, Brian Wilson, David Byrne, Wilco, and The Magnetic Fields.
Artist Bob Pepper created the colorful cover art for this Schubert album. Even if you have not heard of Pepper, chances are, you have seen something he has created—such as the cover of the classic Forever Changes album by the aforementioned Los Angeles band Love, or maybe the art he did for a series of novels by acclaimed sci-fi writer Philip K. Dick. An illustrator since 1962, Pepper's work also appears on a host of other sci-fi/fantasy book covers. Click here to view a very nice collection of Bob Pepper's art at the Fantastic Flipout art blog.
Pepper has stated that two of the most rewarding projects he ever worked on were the Dragonmaster and Dark Tower games for Milton Bradley. While Dragonmaster was his favorite of the two projects (due to MB allowing him complete freedom in inventing the characters and style), it is his connection to Dark Tower that struck a chord with me.
This Dark Tower commercial (starring Orson Welles!) worked its marketing magic and left me wanting the game. But alas, this sort of cutting-edge, electronic board game technology did not come cheap in 1981 and it was as financially out of my league as one of those fashionable Members Only jackets, or sneakers that didn't come from a big wire bin at the grocery store. That is, until one fateful day, while carrying out the happy task of selecting a birthday gift at a toy & hobby shop, when I suddenly found myself standing before a majestic Dark Tower box with an attached paper sign stating a deeply discounted price...
Section of Dark Tower board and some of the game pieces
Evidently, a lawsuit was filed by two designers who claimed Milton Bradley based Dark Tower on a game they had unsuccessfully tried selling to MB in the late 1970s. There is some controversy over the fairness of the final judgement, but the game giant was forced to pay out money to the plaintiffs, and as part of the settlement, they also had to pull Dark Tower off the market. It seems this lawsuit was behind the sudden, steep drop in price. This surely was bad news for Milton Bradley, but good news for young, cash-strapped nerds longing fora fantasy adventure born of electronic wizardry. Unfortunately, I had such a hard time keeping the tower furnished with costly batteries, that I was unable to play the game as much as I'd have liked. On the bright side, it's still in excellent condition from spending so much downtime safely sleeping inside the box.
Illustration found along edge of Dark Tower box
You may recall that this article began as a report on a record album of symphonies composed by Franz Schubert. Even though I warned there wouldn't be much written here about the actual music or recording, I think it might be a good idea to wrap things up with a few quick thoughts on the sounds... as I sit here listening to the record right now, I think the performance is very good, and the recording sounds decent, but perhaps somewhat dull or flat.
I most enjoy the more subdued, slower, instrumentally sparser moments found in both symphonies—but particularly in the first one (which Schubert finished when he was only 16). These parts sometimes remind me of the music you might find in a well produced, dramatic movie of the 1930s or 40s. At times, the music seems very familiar, but I am not sure if that's due to my hearing these exact pieces somewhere before or if it is because the young Schubert is employing ideas/motifs that are derivative of, and bringing to mind, earlier works by composers such as Beethoven and Mozart which I may have previously heard.
Click here for more info on the Dark Tower game, and to read an interview with artist Bob Pepper at the great Well of Souls / Dark Tower fansite.
Click here to read an excerpt from the book Follow the Music, where Jac Holzman himself tells the story about starting Nonesuch Records.
Picked up a nice selection of classic 7" singles this week:
The Contenders - The Clock / Look At Me (196? Java 101 /red label)
The Box Tops - Cry Like A Baby / The Door You Closed To Me (1968 Mala 593)
Cream - Sunshine Of Your Love / SWLABR (1968 Atco 6544)
Deep Purple - Smoke On The Water (Edited Version) (1973 Warner Bros. 7710)
The Stylistics - Betcha By Golly, Wow / Ebony Eyes (1972 Avco 4591)
The Stylistics - You Are Everything / Country Living (1971 Avco 4581)
The Chordettes - No Other Arms, No Other Lips / We Should Be Together (1959 Cadence 1361)
The Bubble Puppy - Hot Smoke & Sasafrass / Lonely (1969 International Artists 128)
The Orlons - South Street / Them Terrible Boots (1963 Cameo 243)
Raspberries - Go All The Way / With You In My Life (1972 Capitol 3348)
The Zombies - Time Of The Season - Friends Of Mine (1968 Date 1628)
The Animals - The House Of The Rising Sun / Talkin' About You (1965 Parlophone 60230)
The Angels - Til / A Moment Ago (1968 reissue - Eric 106 - originally released in 1961 on the Caprice label)
The Angels - My Boyfriend's Back / (Love Me) Now (1963 Smash 1834)
The Chantels - Maybe / I Can't Take It (19?? Roulette GG-22)
1910 Fruitgum Co. - Simon Says / Reflections From The Looking Glass (1968 Buddah 24)
1910 Fruitgum Co. - Special Delivery / No Good Annie (1969 Buddah 114)
The Tremeloes - Here Comes My Baby / Gentleman Of Pleasure (1967 Epic 10139)
Spiral Staircase - More Today Than Yesterday / Broken Hearted Man (1969 Columbia 44741)
The Beatles - The Ballad Of John And Yoko / Old Brown Shoe (1969 Apple 2531 original: w/small Capitol logo on bottom of B-side)
Santana - Black Magic Woman / Hope You're Feeling Better (1970 Columbia 45270)
Tommy James And The Shondells - Hanky Panky / Thunderbolt (1966 Roulette 4686)
Tommy James And The Shondells - Mony Mony / One Two Three And I Fell (1968 Roulette 7008)
The Paris Sisters - I Love How You Love Me / He Knows I Love Him Too Much (1968 reissue Eric 101 -songs originally released separately in 1961/1962 on the Gregmark label)
The Arrows - Blue's Theme / Bongo Party (1967 Tower 295)
Chuck Berry - Johnny B. Goode / Around & Around (1958 Chess 1691)
Grand Funk Railroad - We're An American Band / Creepin' (1973 Capitol 3660, gold vinyl)
Blue Cheer - Summertime Blues / Out Of Focus (1968 Philips 40516)
Creedence Clearwater Revival - Proud Mary / Born On The Bayou (1969 Fantasy 619)
Shelley Fabares - Johnny Angel / Johnny Loves Me (1968 reissue, Eric 115 -songs originally released separately in 1962 0n Colpix label)
Like most singles sourced from the thrift store, this batch looks thoroughly scuffed and in dire need of a good old-fashioned wash up at the kitchen sink. Despite initial outward appearances, I am often pleasantly surprised at how well these things will still play though, with much of the damage being superficial. Only the Chuck Berry one—with a deep gouge on the Johnny B. Goode side—looks too damaged to play properly. I don't plan on subjecting my stylus to that punishment for such a familiar song, but I wanted to buy the record anyway because it was an original on the Chess label, which is something I don't see every day and thought was pretty cool, and the flip-side looks fine. These records only set me back nineteen cents a piece, so at that price, if something looks interesting, I'm likely to just grab it without too much deliberation.
A few of the groups, such as The Contenders, The Arrows, and The Paris Sisters, are completely new to me and I'm really looking forward to checking them out.
Judging by what I've been reading, the record by The Arrows seems like it will be quite good...
Credited with pushing guitar distortion to new extremes and innovating the ultra buzzy "fuzz guitar" sound, Arrows main man Davie Allan has been called "High priest of the fuzz guitar" and is known for his heavy and noisy, but focused and proficient guitar work that is said to be like the missing link between surf music and psychedelia.
The music of Davie Allan & the Arrows has been used in over two dozen movie soundtracks. Apparently, a good deal of those films are of the late sixties outlaw biker B-movie variety, such as The Wild Angels, starring Peter Fonda, Bruce Dern, Nancy Sinatra, and Diane Ladd,The Glory Stompers, featuring Dennis Hopper, and Born Losers (with special guest star, Jane Russell). Click the film titles to view the trailers in all their depraved, unlawful glory at YouTube.
I am surprised I never managed to hear of Davie Allan or The Arrows sooner. It seems likely I may have been exposed to his/their music in a movie or someplace else without realizing it though.
What immediately attracted me to this record is that it is on the Tower label—which released the very first Pink Floyd records (of which I'm a big fan).
I've heard the song South Street before, but I never knew who recorded it. Now that I know, I have to admit that I am not familiar with The Orlons name at all, but I am happy to have found this single and can't wait to hear the B-side song with the intriguing title of Them Terrible Boots. I think there must be a special story waiting to be heard there.
They may be Homer Simpson's favorite band, but to be honest, I picked this single by Grand Funk Railroad, more for the fact that I couldn't resist the shiny, translucent, gold vinyl, than for the radio rockin' hit single contained therein.
This one is extra beat-up—possibly from enduring much hard use at one too many acid parties—but I liked how Cream are credited here as "The Cream." I also never before found a Cream single, and since they are such a great band, I grabbed it. In case you are wondering, the letters that form the title of the B-side song "SWLABR" stand for:SheWasLikeABeardedRainbow.And with that, I leave you with these enigmatic words to reflect upon:"You've got that rainbow feel, but the rainbow has a beard"
